Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Hungary and from Philadelphia.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1967 to 1972.
I'm losing my edge.
To all the kids in Tehran and Cairo.
I'm losing my edge to the art-school London kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Magazine to the techno kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Cymande. All the underground hits.
All Reagan Youth tracks. I heard you have a vinyl of every Banda Bassotti record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Modern Lovers,
Roxy Music,
Sister Nancy,
Pierre Henry,
Pulsallama,
Brothers Johnson,
Cheater Slicks,
Bauhaus,
Henry Cow,
Eric Dolphy,
Masters at Work,
Television,
David McCallum,
Pole,
Colin Newman,
the Sonics,
Fatback Band,
Stetsasonic,
The Men They Couldn't Hang,
Wolf Eyes,
Roxette,
Groovy Waters,
Lou Christie,
Kool Moe Dee,
Wire,
Aaron Thompson,
Cecil Taylor,
Sun City Girls,
Gang of Four,
New York Dolls,
Ice-T,
Von Mondo,
Barrington Levy,
Jawbox,
Graham Central Station,
Ajijia Myrayebe,
Eric Copeland,
Skriet,
Minny Pops,
Lafayette Afro Rock Band,
Richard Hell and the Voidoids,
Infiniti,
Peter Gordon & Love of Life Orchestra,
Monolake,
Unwound,
Pussy Galore,
John Lydon,
Big Daddy Kane,
Yellowson,
Warsaw,
Althea and Donna,
Soft Cell,
Sight & Sound,
The Angels of Light,
Rapeman,
Funky Four + One,
The Pop Group,
Skaos,
The Royal Family And The Poor,
Roger Hodgson,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.